The specifics of creating “worlds” in different types of art: literature and video games

The work presented below is the essence of the course of the Faculty of Philology (already, by the way, a third -year student) and an amateur to read and disassemble literary works, as well as a long -standing fan of video games, which led to an interest in the scientific understanding of these two types of art.

The work was performed in a scientific style with all complicating reading and partially perception of conventions and features (impenetrable walls of the text, crossbreeds, etc.), so start reading at your own peril and risk – you were warned.

I assume that partially (and/or even completely) theses and ideas reflected in this work were found in many other scientific and near-scientific works, so, in its own way, this exchange rate can be perceived as a generalization and/or refraction of these ideas with an emphasis on the allocation and comprehension of the main differences between literature and video games.

The term paper is presented in almost unchanged form: with the corresponding introduction (you can skip with a calm soul), conclusion and other.

Carefully! spoilers for the book “Metro 2033” and to the game of the same name.

Introduction

Relevance: Recently, there has been a violent growth in the field of computer technology, especially computer games reach their heyday. The number of intermedial connections is increasing every year, and the study of video games and, specifically, adaptation of literary text to a computer game mainly abroad. Russian researchers examine the entire video playing industry exclusively from a sociological point of view with an accent that video games cause aggression and indulge in cruelty. However, researchers do not attach importance to the video of the video, their entertaining and soothing properties.

Within the framework of this work, an attempt was made to study video games phenomenologically and with the involvement of literature.

Novelty: The topic in which video games and literature are considered in their relationship is not new: there are both scientific and journalistic work on a similar topic, however, the concept of playfulness (gamens) is mentioned in them only a relatively specified topic and is never considered separately.

In this work, an attempt is made to study the playfulness with all its features, thanks to which video games differ from other types of art.

Object: “Metro 2033” (Roman D. A. Glukhovsky, video game “4a Games”).

The subject of the study: Principles of creating the art world in the literary text and video game.

Target: Explore the specifics of the creation of “worlds” in different forms of art (literature and video games).

To analyze the structure of the plot, the character system, chronotope, dialogs and monologues, the role of the author in the novel “Metro 2033”;

To analyze the structure of the plot, the character system, chronotope, dialogs and monologues, the role of the author in the video game “Metro 2033”;

Research methods: formal, intermedial, meal, narratological.

Scientific base: “Gameplay”, “What Computer Games Can and Can’s”, “The Game, The Player, The World: Looking for a Heart of Gamenses”, “Games Telling Stories? (A brief note on games and narratives), j. Juul;“Ludonarrative Dissonance in BioShock (The Problem of What The Game Is ABOUT)”, C. Hocking;“Can video games be art?”, A. A. Denikin;“Video game scenarios: features of adaptation of literary works”, Yu. F. Shpakovsky, m. D. Danilyuk;“Literature in the era of new media: verbal art and video games”, in. IN. Kirichenko;”Perspectives of Computer Game Philo”, Jul. Kücklich.

Work structure: Coursework consists of introduction, two chapters, conclusion and list of literature.

Chapter 1. Theoretical ideas about video games and game

Starting the study of video games, it is worth first to determine what the game is in principle.

Esper Yul, the theoretician and developer of the video game, associate professor at the design of the Danish Royal Academy of Fine Arts, in the work of “The Game, The Player, The World: Looking for a Heart of Gameence” (2003), analyzing several definitions of the game and allocating the main features, creates its ownThe definition, as the researcher himself clarifies, the “classical game”:

“A classic game is a rulo-bassed formal system with a variable and quantifiable outcome, Where Difffecomes Assigned Different Values, The Player Exerts Effort in INOrder to influence. – AND. WITH.)

Considering that Esperent himself specifies his definition using the word “classic”, thereby forming a timeless idea of ​​games and setting signs, one way or another inherent in all games, including video games, we should agree with this definition.

Having determined what the game is, you should choose the point of view with which the study will occur. There are two positions: Narratologists (emphasis on the study of video games as a special text, cybertext, that is, on the study of the narrative) and cannibals (emphasis on the study of video games) [Vetushinsky, 2015, SS. 2-4. However, these aspects of the study should not be separated, especially in the framework of the current stage of the development of the video game industry, when more and more plot-governed games are being developed.

Consequently, in relation to this work, the narratological and anti -human aspects will be used jointly, but with a great emphasis on the game of the game, although in connection with the plot (more precisely, with how the text is converted into a video game).

Having chosen aspects of the study, it is worth determining what it is playfulness (Gameness). For the lack of any intelligible definition in the scientific field of the study of video games, it is necessary to draw up your own definition, first indicating the characteristic features (within the limits of this work):

The opportunity for a recipient (player) to directly control the hero/heroes with varying degrees of association with him/them (from the 1st person to isometry and type from above);

The presence of gameplay (gameplay), which is understood as the “component of the game responsible for the interactive interaction of the game and the player” [Shpakovsky, Danilyuk, 2017, from. 2sh;

Features of the narrative: History is told using visual https://www.trsports.co.uk/casino-real-money-games-slots.html (including intra -game texts, for example, books in “The Elder Scrolls V: Skyrim” (Bethesda Game Studios, 2011) and audit, gameplay and classical technologies, monologues, reflections and descriptions of the narrator/narrator(cm. below));

The presence/absence of a specific goal (global game goal, global plot goal, a number of accompanying and side) and rewards/punishment for fulfilling/failure to fulfill this goal (for example, in the video game “Fable Anniversary” (Lioned Studios, 2014) Global Game goal – to become stronger, global plot – avenge for the seven, avenge for the sevenSide – various kinds of tasks and activity available in a conditionally open world: fishing, assistance to merchants and residents, etc. D.);

A special role in the author (in video games the narrator or narrator can be present, for example, in “Little Misfortunes” (Killmonday Games Ab, 2019) or “The Stanley Parable” (Galactic Café, 2013), but this is not the projection of the author in the text, but something that exists exclusively in the game; moreover, the game does not have a specific one;the author, since a whole team of people is engaged in the development, however, directs this team, sets the development vector and has a whole vision of the Gam Designer project).

Thus, summarizing all the above features, you can draw up a game of game (within the limits of this work):

Gameness – This is an integral structural -forming element of a video game that creates the possibility for a recipient (player) to directly control the actions of the hero/heroes as part of a gameplay (gameplay), a special chronotope with momentary action and narrative, in which the plot structure and the role of the author, with intergracial and purely literary arts, are transformed compared to literature and other arts.techniques for the sake of achieving a particular goal, if any, in the hope of receiving a reward for its implementation.

Having dealt with playfulness, you can move on to the definition of the video game itself, to the consideration of genre features and a brief note about the exonant dissonance.

Anton Anatolyevich Denikin, candidate of cultural studies and associate professor at the Institute of Television and Radio Broadcasting. Lithuania of the Russian State Humanitarian University, in the work “Can video games be art?”(2013) defines a video game as“ software operating on special equipment (computer, gaming console, portable electronic device), which serves to organize the gameplay (gameplay), communications with the game partner or acting as a partner ”.

Despite the positive places of this definition (an indication of special equipment for the game, an indication of single and joint (or multiplayer) games), it focuses exclusively on the formal side of the video game, missing the substantial. Therefore, it is necessary to formulate the working definition of video games with the involvement of the above data.

A video game is a formal amicable system organized by the game (Gameness) and representing a program launched on a special device (game console, computer) for a single or joint game.

Having given the working definition of video games, you should investigate the problem of game genres. The tools used and the principle of creating video games undergo certain changes depending on the genre chosen by the developers: for example, in the first-Person Shooter (first-person shooter), the player observes what is happening, as indicated in the name, from the first person, thereby than in other genres, associating the character, and the main gameplay is to arrow. In addition, this genre involves the “corridor” and linearity of both the plot and the gameplay: the player-player passes along the “rails” from one location to another, shooting off from opponent waves (for example, “Metro 2033” (4A Games, 2010), selected for analysis in this term paper, although there are elements from other genres: improvement of weapons: improvement of weapons: improvement of weapons: improving weapons: improving weapons(RPG), basic “platforming” (see. below) and primitive stealth).

At the same time, in RPG (Role Playing Game; role-playing game), the player usually creates a character and throughout the action plays out this role, agreeing with all the conditions of video games (magic and dragons in “Dragon Age: Origins” (Bioware, 2009) or translated into socially fantasy realitiesJapan Philosophy of Karl Gustav Jung in J-RPG “Persona 5” (Atlus, 2017), in which members of the “phantom thieves” group, tearing off their mosques of mental restriction, thereby release their persons and confront the collective unconscious of Japanese society). In this genre, the camera is usually behind the character’s back, locations, large and open, filled with places of interest, numerous tasks and activities. The plot, in turn, is most often nonlinear: many additional plot lines and a developed system of choice with subsequent influence on events.

However, it is worth noting that modern video games are distinguished by developed genres syncretism, which is why it is impossible to highlight the dominant genre that determines the playfulness (for example, in “Red Dead Redemption 2” (Rockstar Studios, 2018) the player has the opportunity to switch between views from the 3rd person and from the 3rd, he was provided with an open world filled with different ones.Tasks, the main gameplay (shooting) is complemented by elements of other genres: fishing, tracking of hunger and thirst (simulators);improvement of the character (RPG) (RTS – Real Time Strategy;.).

Consequently, the means and principle of creating video games, as a rule, change from similar in another game, based on the chosen genre, although recently there has been mutual influence and syncretism of various genres, which is why it is becoming increasingly difficult to distinguish the dominant.

Completing the first chapter of this course work, it is necessary to consider an important video game problem: a cannonamal dissonance is a contradiction that arises between playfulness and narrative, thereby destroying the integral perception of the player’s work and offering the choice between these two poles [Hocking, 2007].

Thus, having determined what a video game is, a delinquent dissonance and playfulness, as well as considering the problem of game genres, you can begin to study the game management in connection with literary text (the way the literary text becomes a video game) using the example of the novel “Metro 2033” by Dmitry Glukhovsky and the game of the same name “4a Games”.

Chapter 2. Means and principles of creating art worlds in literature and video games

§ 1. Analysis of the novel d. Glukhovsky “Metro 2033”

Start the analysis of the novel “Metro 2033” behind the authorship of Dmitry Alekseevich Glukhovsky stands with the consideration of the structure of the plot.

The path of the protagonist, Artem, to eliminate the threat to the VDNH station, consists of a series of replacing each other of the Moscow metro stations with rare and dangerous sorties to the surface.

The journey begins at VDNH, where the reader explains the motivation of the main character (Artem is negatively configured to black and decides to take a dangerous trip to the policy for two reasons: 1) in his memories tells about the participation in one of the many defense of the Black Station, 2) Artem gets acquainted with Hunter, which inspires him to go to the policy to Melnik), reaches him)the climax in the policy (Artem is finally convinced of his chosenness and receives weapons against the blacks), and ends on the Ostankino tower (Artem destroys the black rocket salvo and at the last moment realizes that he incorrectly interpreted his chosenness, which, instead of the world, brought genocide. Throughout his life, blacks tried to establish contact with people with the help of Artem, whose consciousness was available to them. However, to the last one opposed the call). Between these three key points are other metro stations, transitions between them, meetings with new satellite heroes, memories, descriptions, dialogs, monologues and copyright digressions, which describes the catastrophe that occurred with the world, the situation and balance of the forces in the subway, themes, motives and idea of ​​the work.

Thus, the main character moves between points on the metro map, meeting and losing his companions, overcoming obstacles, knowing the world around him and, if possible, helping a particular station, a particular character, for the sake of saving his house.

In its structure, the plot of the novel “Metro 2033” seems to be adventurous with the inherent “dashed”, unpredictability and openness of the character to all fantastic. On the other hand, the plot of this novel gravitates to a fairy tale: the conditional simplicity of the hero’s movement in space, overcoming difficulties thanks. Further) or “Providence”, the search by a protagonist of the weapon unknown to him at the beginning of the path, with the help of which he will be able to defeat the antagonist, in general, dividing the plot into three main parts: the beginning of the journey is the hero weak, the middle of the trip – the hero gains “strength” (in this novel – the preserved rocket complex), the end of the trip – the end of the “evil” forces (destruction of black missile impact).

Having examined the plot structure, you should proceed to the analysis of the character system.

The characters of the novel “Metro 2033” exist as individual personalities within the limits of its stations, however, each of them helps Artem in achieving his goal, fulfilling his specific function: Uncle Sasha raises Artem, gives basic knowledge, skills and initial ideas about the metro outside “VDNH” (initial knowledge), Hunter motivates to take the journey (motivation;idol), Bourbon helps to escape with the “Riga” and continue the path (escape), the khan saves Artem, explains to him the paranormal side of the metro and hints to his chosenness (knowledge of fantastic, chosen), Mikhail Porfiryevich provides a passage to the “Kuznetsk bridge”, tells about the past life on the surface and the real situation with the Reich, and most importantly, it shows the example of his exampleA caring attitude to the partially mutated Vanechka tolerance and the possibility of love and normal relations with mutants (passage, knowledge of past, sympathy), the miller helps on the surface and teaches how to survive (sorties;Teacher) and t. D.

Thus, all the characters in the novel are directly related to Artem and his mission, they educate and motivate him, give him knowledge about the past and present, how to survive and how to kill, provide a safe passage by the metro, help to acquire equipment and weapons, form an arthomas worldview. Each character is functional in its own way and acts on the path of the protagonist, simultaneously existing outside the “field of vision” of Artem.

Having analyzed the character system, you should turn to a chronotope, within the boundaries of which these characters exist and act.

Literally, the name of the work itself provides the recipient with basic ideas about the chronotope of the novel: place – “metro”, time – “2033” year. From the first pages of the novel the circumstances are explained, specified and supplemented: it is told about the war, as a result of which the remnants of mankind went down in the subway and barricaded there, about conflicts and peaceful agreements that were already underground, about the balance of forces, as well as about the views and life of people. In addition, the background of some heroes is given.

Turning specifically to space, it is worth highlighting several significant features. Topos in the novel:

Blutched (the action takes place in the dark and limited space of the subway, in the transitions and tunnels of which there is a danger);

Fantastic (hypnotizing radiance of the Kremlin stars, the voices of pipes in the tunnel, the space of sleep and visions);

The space of the hero (for people living in the subway, Artem became a hero, although in fact, destroying the blacks, he deprived humanity of hope for a bright future).

Now it is necessary to analyze the time in the novel. The following main features can be distinguished:

“Adventure” (the hero passes a series of tests on the path of achieving the goal; one test is rapidly replacing another);

Linearity (episode follows the episode in a chronological sequence with small retrospers in the form of stories about the “distant” past and the background of heroes);

Danger (on empty distillations when meeting with hostile people and on the surface when colliding with mutants, any delay is deadly);

The presence of the time of internal thoughts (Artem often travels alone and then he tries to figure out the information received from other characters, as well as analyze and understand every specific situation that happened to him, draw conclusions).

Thus, the chronotope of the novel “Metro 2033” seems to be closed, dangerous for characters, fantastic, multifaceted, linear, adventurous and contributing to the formation of the protagonist through testing, meetings with other heroes and internal thoughts.

It should be noted that for the reader the events of the novel are the past (although the action takes place in 2033), therefore it is separated by a certain distance from what is happening and cannot directly take part in it. History is available to the recipient only thanks to the narrator.

Having studied the chronotope, you need to turn to the speech of the characters.

Throughout the novel, dialogs play an important role in the journey of the protagonist. Thanks to communication with other characters, Artem learns the details about the disaster that happened in the last disaster, receives news of what is happening in the subway (for example, the story of Mikhail Porfiryevich about the Reich) and beyond (Melnik’s explanations about how to survive on the surface: to stay away from the buildings, not to stop and not make noise if possible). And also through the dialogs, the characters of the heroes are revealed: for example, the speech and behavior of Bourbon shows him as a simple, rude and talkative, but rather reliable person “with concepts” (“-Listen, call me on you, I’m not so older that it is … in short, that I ask … I have a boy, a kid. Not to all of yours, namely to you, like, personally. I, this is the most, need your help. Understood? Not for long … “ [Glukhovsky, 2020, p. 72]), and the same miller, on the contrary, is distinguished by military severity and speaks exclusively in the case: “—It, so. Do not chat on the way. Someday already risen upstairs? It doesn’t matter … Give me a card, ”he turned to the officer,“ until the lobby, you step a step in a step after me, not to get down. Do not look around. Do not talk “ [Ibid, p. 233.

Monologues mainly perform one function – reveal the inner world of the protagonist. Each event experienced Artem is trying to make out the components, understand and draw conclusions. A visual example is in an epilogue in which Artem analyzes the entire path from the first meeting with blacks to their destruction, he realizes that humanity condemned to eternal life underground, and understands that he has no way to tell the truth, since no one will believe him or decide that blacks took possession of his consciousness. The most remarkable in the Gospel of Artem is one phrase: “I am a coward and therefore will be a hero” [Ibid, 375], thanks to it, Artem himself is best characterized. He was too cowardly to listen to the calls of the blacks and try to understand them, and therefore he destroyed them and became a hero for people.

Consequently, the speech of the heroes is informative and functional, thanks to it the past and present of the world is explained, one way or another the characters themselves are characterized, the internal state of Artem is revealed, and also thanks to speech he is given additional motivations and knowledge for the successful passage of the assigned path.

Concluding the analysis of the novel “Metro 2033” should be studied by the role of the author.

The author of the text, acting as a narrator, manifests itself at different levels: firstly, in copyright deviations in which the topics and idea of ​​the work are revealed, and secondly, in the inexplicant speech, thanks to which he “sees” the thoughts of the main character and presents them to readers (“The conviction is that while he follows his paths, nothing threatens him, occupied his whole place in his mind. Where the inevitable, it seemed, fear of tunnels went? Where are fatigue and unbelief disappeared?” [Ibid, p. 210] and “He himself did not fully understand what he was hoping to see when he had been metro-2. Gold rails? People living as they lived before, who do not know about the horrors of current existence, in fabulous abundance? Gods?” [Ibid, p. 318] (emphasizing mine. – AND. WITH.)), thirdly, in the descriptions of the world around the world and the events. From the very beginning of the story, the narrator follows the main character, without lagging behind him a single step and not being distracted by other characters outside the “field of view” of Artem. Therefore, the author of the director often looks at the world through the eyes of the protagonist and, as a result, unites with him into one face of the “narrator” (“Darkness scattered before her eyes and, clinging to Binocokol, he saw that hundreds of black figures on the distant earth had froze. It seemed to him that they were all now looking at him, not believing that such a long -awaited miracle happened and the end of the meaningless fratricidal hostility was laid ” [Ibid, 372]).

The narrator allows you to observe the whole journey of Artem from the third intangible person with periodic plans from the first for chamber, the personality of history and better immersion in it, as well as for more empathy, the main character in the trials overcome by him.

Thus, the author in the novel plays the role of the narrator, constantly following the main character and tells readers his tragic story. The work prevails by the story from a third person, invisibly present in the space of the novel, although periodically the angle ships towards the first person, when readers allow you to look at the world through the eyes of Artem.

Having examined the plot structure, character system, chronotope, dialogs and monologues, as well as the role of the author in the novel “Metro 2033”, it is necessary to begin the analysis of the video game of the same name.

§ 2. Video game analysis “Metro 2033”

Starting the analysis of the video game “Metro 2033” from the studio “4A Games”, as in the case of Roman, start with the structure of the plot.

The video play plot, almost completely coinciding with the book, is significantly different in its structure. In both works, the main character goes a specific path that begins at the VDNH station, reaches the climax in the policy, and ends on the Ostankino Tower. However, in the book, Artem’s journey is supplemented by descriptions, stories, dialogs and monologues, memories and copyright deviations, remaining, in essence, by the rectilinear and monotonous walking of the protagonist in the metro.

In the game, in turn, two constantly replacing sections can be distinguished during Artem (Player): 1) Section of the main gameplay-shooting (Hero-player in the course of the entire game is shot from mutants and people, trying to save ammunition and resources: cartridges, knives, various kinds of grenades, first-aid kits, etc. D.);2) section of “rest” – the player is allowed to safely walk around the stations and tunnels of the metro, study them, collect the necessary resources (cartridges, first -aid kits, filters) and additional objects (notes from Artem’s diary), improve the weapon, talk with NPC (not playable characters – non -igar characters) and simply enjoy the recovered)the atmosphere of the metro, in which the life of the not completely extinct humanity is still glowing.

In both sections, the hero is under the control of the player and only in KAT scenes (intra-game videos), which are a special element in the plot structure, the player is supplanted to the level of the audience.

It is also worth noting that the main gameplay is supplemented by other types of gameplay: in some locations the player has a choice – not to enter into conflict and go unnoticed (stealth) or, accordingly, enter into a conflict and shoot off from enemies (shooter);In addition, gameplay diversity is introduced thanks to the simple “platforming”, in which the player needs to overcome the obstacle strip through jumps.

Together with the three specific components of the plot structure, there are dialogs, monologues and various stories, which can also be heard from enemies. Descriptions of the metro, life and characters, in turn, were visualized and transferred to screens (for example, see. adj. 1).